The Invisible Man


Horror / Sci-Fi / Thriller

Rotten Tomatoes Critics - Certified Fresh 92%
Rotten Tomatoes Audience - Upright 88%
IMDb Rating 7.5 10 N/A


Downloaded times
March 22, 2020



Aldis Hodge as Anthony Woods
Elisabeth Moss as Shirley Jackson
Nash Edgerton as Security Guard
Oliver Jackson-Cohen as Adrian Griffin
720p.WEB 1080p.WEB
1.12 GB
English 2.0
23.976 fps
110 min
P/S N/A / N/A
2.29 GB
English 2.0
23.976 fps
110 min
P/S N/A / N/A

Movie Reviews

Reviewed by hungry_nirupam 9 / 10 / 10

Amazing film: scary and anxiety inducing

First of all, let me start with how excited I was to see this movie. Luckily, I got to catch this in an advanced preview. And I will say this, the excitement, counting of days, posting on social media, all paid off. This movie definitely scares you. It's not just jumpscares or loud noises, it's something psychological. From the first opening shot, you're immediately put inside Elisabeth Moss' character Cecilia's head. She is stuck in an abusive relationship and can't get out of it. The whole opening scene makes you uncomfortable as we see Cecilia trying to make her escape. This kind of tension is kept on throughout the film. Another thing this film succeeds upon is the writing. The story progresses in a fast paced way which doesn't seem hurried. The 2hr runtime feels achieved. There's definitely more than one 'WTF' moment in this film to keep you on the edge of your seat. The score and the sound design definitely puts you in Cecilia's shoes as you struggle with her to point out where exactly the invisible man might be. The camera work is exquisite, I mean did we really doubt the director who brought us Upgrade? The action sequences definitely feel thrilling and the way it's shot makes you feel like you're living it. In my book, Elisabeth Moss can do no wrong. Her acting here is definitely something to be noted. From her being hysterically scared to her fighting back, Moss sells it. She makes us root for her. Oliver Jackson Cohen, who plays her abusive husband has a small but really pivotal role and boy o boy he is scary. The rest of supporting cast is also really good. Overall, this is Moss' movie and she carries it with ease. This year (so far) there hasn't been many horror movies that genuinely gave me anxiety or made me jump. So I am happy this film succeeded in doing both. Leigh Whanell is an amazing horror writer/director and proves that he can still give us a solid entertaining flick. There's some solid moments of blood so gorehounds can rejoice. I thought about it a lot and I can't really think of anything that didn't work. Some of you might complain about the camera work and how it focuses on the actor's faces more than the action but to me that worked. I think that definitely sold the drama. All and all this was a terrific film, really made the universal monster scary by mixing the monster with a relevant story. I will give this film a 9/10. If you liked this review please like my page Let's Talk Horror.

Reviewed by MR_Heraclius 4 / 10 / 10


I loved this movie so much. I loved Elisabeth Moss's performance if her acting didn't work then we wouldn't believe there is an invisible man but she sells it. I like the cinematography in the movie, I love it when they move the camera to a random spot in the room and we think the invisible man is there and them kinda showing he's somewhere in the room with her, which creates a lot of tension in the scenes. I love the tension in each scene and they do a very good job of capturing tension throughout the whole movie. They have an absolutely stacked cast and they all do an amazing job. I think they did a pretty job at the score it really worked in the tension of the scenes and it elevated each scene and the whole movie and it flowed with each scene it never felt off at all. I felt so bad for the character of Elisabeth Moss because the evidence is right there and the doctors aren't believing her, and everything that happens to her too. They do an amazing job at fleshing out the character of James who is played by Aldis Hodge he also does an amazing job and I cared about him so much throughout the whole story. The story kept me on the edge of my seat from start to finish, and it kept me wanting to learn more or see what was going to happen next. I only have two problems with the movie a bit of the dialogue is bad at times and there are times where the decisions that were made were not logical at all besides that I think it is pretty good. Overall I loved it and would recommend it to anyone.

Reviewed by Bertaut 4 / 10 / 10

Starts brilliantly but ultimately undermines itself with plot contrivances and genre foolishness

H.G. Wells's original The Invisible Man (1897) suggests that rather than something as powerful as invisibility being used for the betterment of mankind, it would instead be used to fulfil private desires, ultimately leading to the moral corruption of otherwise good men. In probably the best cinematic adaptation, Hollow Man (2000), this is taken much further, with the suggestion that the results of invisibility would be nothing less than sexual violence, evil, and madness. However, despite the centrality of this theme in the core story, reframing the template as a tale of domestic abuse and PTSD, as happens in this latest adaptation, which focuses not on the male scientist but on a female victim of his, is a fascinating idea, creating the potential for some timely #MeToo social commentary, particularly as it relates to issues of not believing women who accuse powerful men of gaslighting. But potential only gets you so far, and what could have been a really insightful film eventually proves itself relatively incapable of using issues of domestic abuse as anything other than plot points to get from one predictable scare to the next. The film begins as Cecilia Kass (Elisabeth Moss) is putting into motion a plan to leave her domineering and abusive boyfriend, Adrian Griffin (Oliver Jackson-Cohen), a wealthy pioneer in optics. Having drugged him, she leaves their high-tech home in the middle of the night and is picked up nearby by her sister Emily (Harriet Dyer), who takes her to stay with their childhood friend, James Lanier (Aldis Hodge), a policeman living with his daughter Sydney (Storm Reid). Although assured that Adrian can't find her, Cecilia is clearly suffering from agoraphobia and paranoia. That is until Adrian commits suicide. Contacted by his brother Tom (Michael Dorman) who's handling his estate, Cecilia learns that Adrian has left her $5 million. However, despite her best efforts to move on, she just can't shake the feeling that Adrian is still around, watching her, sometimes even in the same room as her. And the surer she becomes that he's not dead, the more everyone else becomes worried about her mental well-being. Written and directed by Leigh Whannell, this latest adaptation of Wells's original is not actually about the invisible man. Indeed, short of a background shot of him lying in bed, a shot showing only his torso as he runs through a forest, and a close-up of his hand, actor Oliver Jackson-Cohen doesn't even appear on screen prior to his apparent suicide. Adrian is not only the invisible man of the plot, so too is his character ideologically invisible. Which makes its own statement, and it's a statement worth making - men like him don't need to be present to continue to cause harm. In this sense, at least initially, the film is more concerned with the fear Adrian has instilled in Cecilia; in the early stages, Cecilia's main enemy isn't Adrian so much her inability to move on from him. Along the same lines, the film looks at issues of how women who accuse powerful men of gaslighting are often ignored or openly disbelieved. Aesthetically, the film looks terrific, particularly Stefan Duscio's cinematography, into which is built Cecilia's paranoia. For example, countless scenes involve the camera panning away from her, moving across the room, showing us nothing at all, and then panning back. Ordinarily, this would be textbook unmotivated camera movement, but here it conveys how Cecelia fears there may be something in the corner to which we panned. And now, thanks to that camera pan, so do we. There are also many shots which in another film would be awful framing; isolating Cecilia in the frame and filling up so much of the screen's real-estate with empty negative space. Except, again, in this film, such negative space has an ominousness not applicable to regular thrillers. In this way, Whannell can instil fear and dread simply by pointing the camera at an empty room without the need for any FX, VFX, makeup, elaborate props etc (which no doubt played a significant role in keeping the budget down to a minuscule $7 million). And I'd be remiss if I didn't mention Moss's performance, which is excellent, especially given that so much of it is her on her own reacting to nothing whatsoever, having to communicate confusion, fear, anger etc through little more than her expression. Before talking about why I didn't like the film, however, I want to reiterate that I honestly can't say how much I admire the idea to reconstitute the genre template as a story about domestic violence. And it's an especially timely reconstitution, coming as it does in the era of #MeToo, when so many powerful men, once considered invisible in everything but name, able to perpetrate their crimes with impunity, have been revealed as the monsters they are. So I have no problem with the ideological paradigm shift. My problem is with the execution. For one thing, we know from the get-go that Cecilia isn't imagining things, that Adrian faked his suicide and is now stalking her whilst invisible. This isn't a twist, and the film makes no attempt to hide it. Granted, this is kind of unavoidable given how well-known the property is, but had the film allowed for even a little bit of ambiguity, it could have done wonders for emotional complexity, turning a story about invisibility into a story possibly about mental collapse. This would have effectively placed the audience in the same position as the other characters, doubting Cecilia's state of mind, which would, in turn, have enhanced the potency of the socio-political allegory. Another thing that bothered me is that in a film so focused on surveillance and privacy, there are several scenes where if there is even one functioning CCTV camera, the movie ends. A pivotal scene in a restaurant is an especially egregious example of this - one grainy image from a camera, and Cecilia can prove she's not going nuts and the whole plot unravels. However, my biggest problem is that what starts as a fascinating study of the lasting ramifications of domestic violence ultimately descends into genre stupidity, with a ridiculously over-the-top final act that says nothing of interest about anything. True, Hollow Man has a pretty over-the-top final act too, but Hollow Man never saw itself as anything other than a schlocky genre affair, whereas The Invisible Man clearly does. The fact that Whannell ultimately undermines himself in this way, deploying such important themes merely to get him to the gory dénouement, is especially frustrating insofar as he genuinely did originally seem to have some interesting things to say. Tied to this is that Adrian is introduced as such an abhorrent character from the start, void of nuance or subtlety. Domestic abusers aren't monotone evil-doers, oftentimes, they're very charming on the surface, and any film claiming to be a serious examination of this topic would make room to address this. Although The Invisible Man was very well reviewed and a huge box-office hit, it left me disappointed and frustrated. Initially positioning itself as an insightful allegory for the difficulty victims of domestic abuse have in moving on with their lives even after the abuser is gone, it eventually privileges genre beats and cheap thrills over emotional complexity. Which is a huge shame and a massively missed opportunity.

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